FABRO TRANCHIDA


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Solo proyects
2013-2025++

  1. 2025 - Orgullo (Espacio Movistar, Madrid).
  2. 2025 - Historias de la eternidad (RGF, Madrid).
  3. 2025 - Narciso e i fiori nella scuderia, or Narciso III (Mapa fair, Buenos Aires).
  4. 2024 - Tango, or Narciso II, with Topacio Fresh (Guggenheim Museum Bilbao).
  5. 2024 - Narciso de Mataderos or Narciso I (Teatros del Canal, Madrid).
  6. 2020 - Templi e rampe di una notte (Museo Tricase porto, Italy)
  7. 2016 - SHORTS (Fundacion El Mirador, Buenos Aires).
  8. 2015 - Sobre los declives y las islas (C.C. Paco Urondo, Buenos Aires).
  9. 2015 - La misa de los pibes (Casa Brandon, Buenos Aires).
  10. 2014 - Boyness (Fundación El Mirador, Buenos Aires).


Los Picoletos 
(Dante Litvak y Fabro Tranchida)
2016-2023 ++
  1. 2023 - Los blabladores (El Chico gallery, Madrid)
  2. 2022 - Nudillos rotos with Niño de Elche y Pedro G. Romero (Muse Patio Herreriano, Valladolid, Spain)
  3. 2022 - Una vitta sottoterra (Cantieri Culturali alla Zisa, Palermo, Italy).
  4. 2021 - The hammer party (Aldama Fabre Gallery, Bilbao)
  5. 2021 - R.I.P. DEUSTO  (Mercado del Ensanche, Bilbao).
  6. 2021 - Precarious cookinf methods (Teatros del Canal, Madrid). 
  7. 2020 - Fridge number six (Museo de Reproducciones, Bilbao).
  8. 2020 - Incubadoras (Fundacion Bilbaoarte, Bilbao). 
  9. 2020 - “Guía práctica para jóvenes monstruos (Book edited by BilbaoArte foundation, Bilbao).
  10. 2019 - Abanderados (La Juan Gallery, Madrid).
  11. 2019 - Pandillas palaciegas (Fundacion Bilbaoarte, Bilbao).
  12. 2018 - Moralzarzal (NN gallery, La Plata, Argentina). 
  13. 2018 - Carro number six (Casa Nacional del Bicentenario, Buenos Aires).
  14. 2017 - Kontuz! (Alkolea beach, San Sebastián, Spain).
  15. 2017 - Infancia feroz (Centro Cultural Conde Duque, Madrid).
  16. 2017 - Navajeros (Factoría de Arte y Desarrollo, Madrid).
  17. 2017 - Fuegos  fatuis (Centro Cultural San Martín, Buenos Aires).
  18. 2016 - Kippel  (Pasamontañas residence, Córdoba Capital, Argentina).
  19. 2016 - La cadura (Desarmadero, Buenos Aires).


CURATORSHIP 
2016-2024
  1. 2024 - Pasajes/paisajes entre Bilbao y Buenos Aires (Wunsch gallery, Buenos Aires).
  2. 2023 - Madre monstruo, misa monstruo (Vitriol gallery, Buenos Aires).
  3. 2019 - El corazón en vidriera: Ars erótica (Centro Cultural Recoleta, Buenos Aires).
  4. 2018 - Las armas tiernas (Wunsch gallery, Buenos Aires).
  5. 2016 - Un lugar sagrado, Eric Marcoksky works (Quimera gallery, Buenos Aires). 

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3. Narciso III - “Narciso e i fiori nella scuderia”, MAPA FAIR, La Rural, Buenos Aires.




            
Photos by Alejo Dillor, Buenos Aires, May 2025.

“He who suffers and cries learns enough in life to give and lend; for nothing teaches more than grief and tears.”
Canto I, “El Gaucho Martín Fierro”, José Hernández, 1872

“To live as free as a bird in the sky; I make no nest on this land where there’s so much pain, and no one shall follow me when I take flight.”
Canto II, “El Gaucho Martín Fierro”, José Hernández

Martín Fierro, the true national emblem of Argentine literature, is a narrative poem that—among many other things—roots itself in the ideas of nomadism, resistance, and freedom. It evokes a way of life (stubborn yet iridescent in the nuances of the journey) that I associate with the life of the contemporary artist: nomadic and anxiety-ridden by nature.

As an Italo-Argentine, I feel deeply moved by these two languages, these two homelands that flow through my blood and the blood of my ancestors. That’s why, in all of these performances, I wear the jersey of Club Atlético Vélez Sarsfield—the football club from my neighborhood in Buenos Aires, founded by Italian immigrants in 1910, the very same year Argentina commemorated the centenary of the May Revolution.

"Narciso" is, in fact, a chain of performances that—like the gaucho in his daily toil—follows a nomadic and biographical path:

In Narciso I, presented at Teatros del Canal (Madrid) together with La Juan Gallery, I began by singing a tango in tribute to my grandfather Pietro, then painted old lovers on the worn-out skateboards I’ve carried along my journey (the skateboard being, by definition, a nomadic poetic object).

In Narciso II, following a personal and artistic biography that on this occasion was not presented by me but by the dear Topacio Fresh, I performed at the Guggenheim Museum in Bilbao. There, I painted a skateboard while drinking mate and sang the tango Uno, mainly because one of its most iconic performers—Goyeneche—had Basque roots.

In this most recent performance, Narciso III, I once again painted a skateboard, this time in a space that even more clearly embodies the gaucho spirit of endless wandering: Argentine soil itself—specifically La Rural, that emblem of the countryside set in the middle of Buenos Aires—became both shelter and perfect excuse. With this performance, I complete a trilogy that is, in truth, just beginning, since my intention is to reach XIII performances, just as there are 13 cantos in Martín Fierro.

By now, the reader may have guessed my view on the state of the contemporary art world: I see the artist as a wandering gaucho—crossing continents with barely a peso, drifting between grants and prizes, between herbs and weeds—trying to find refuge in a so-called “castle of prestige” that, in truth, is made of clouds and precarity.

FABRO TRANCHIDA, April 24th, 2025